Danish auteur Nicolas Winding Refn brings his set of interests to the small screen with “Too Old to Die Young,” a ten-episode drama that has kicked up a minor-key storm over whether it …
, a gifted film actor with some bad luck finding roles in recent years) as a detective-turned-vigilante-killer who lives in a post-moral universe in Los Angeles, spending days grimacing through the world of the living and carrying out brutal revenge killings during off hours.
It’s hard to imagine that having been served the first three episodes would have resolved my distaste for this extended bit of exposure to Refn, a filmmaker whose work has historically left me cold. But they might, maybe, have generated a bit more context for Martin and his situation.
None of this is new for Refn. With films like “Drive” and “The Neon Demon,” he juxtaposed Grand Guignol bloodshed, difficult to endure, with blandly austere emotional reactions from his characters. That “Drive,” released in 2011 and marketed as a potential blockbuster, spurred a frivolousfrom a moviegoer who alleged, among other charges, that there wasn’t enough driving in it, is emblematic.
That Martin’s adversaries, in “Too Old to Die Young,” are pornographers who make work that trades on horrific moments of abuse and exploitation doesn’t land for two reasons: One is that, within a landscape quite as airless as this one, with endless extended shots and silent reactions and nameless, floating figures of evil, attempts at tension too easily end up at overextension.
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